PRICE,  10  CENTS, 


THE  PENNSYLVANIA  MUSEUM 

AND 

SCHOOL  OF  INDUSTRIAL  ART. 


A BRIEF  HISTORY 


OF  THE 


BAYEUX  TAPESTRY, 


WITH  A 


DESCRIPTION  OF  THE  SCENES. 


Compiled  from  the  work  entitled  The  Bayeux  Tapestry,  by  Frank  Rede 
Fowke,  and  the  Notice  sur  la  Tapisserie  dite  de  la  Reine  Mathilde,  by 
I’abb^  J.  Laffetay. 


hall, 

Fairmocnt  Park,  Philadelphia, 
1889. 


THE  ih:xnsylyaxia  museum 

AND 

SCHOOL  OF  INDUSTRIAL  ART. 


A BRIEF  HISTOKA 


T 


OF  THE 

BAYEUX  TAPESTRY, 

WITH  A 

DESCRIPTION  OF  THE  SCENES. 


Compiled  from  the  work  entitled  The  Bayeux  Tapestry,  by  Frank  Rede 
Fowke,  and  the  Notice  sur  la  Tapisserie  dite  de  la  Reine  Mathilde,  by 
I’abb^  J.  LafTetay. 


MKM;oriIA.L 
Fairmoint  Park,  Philadelphia 
1889. 


The  copy  of  the  Tapestry  in  the  Pennsylvania  Museum  is  an  exact  fac- 
simile in  the  minutest  details  of  the  original  work,  made  by  an  autotype 
process  and  colored  by  hand.  Certain  grossnesses  in  the  borders  have 
been  erased. 


Allen.  Lane  & Scott,  Printers,  Phila. 


THE  BAYEUX  TAPESTRY. 


The  Bayeux  Tapestry  is  a band  of  linen  two  hundred  and  thirty  feet 
long  by  twenty  inches  wide,  containing  a series  of  pictures  illustrating 
the  Norman  Conquest  of  England  and  justifying  from  a Norman  stand- 
point the  claim  of  William  the  Conqueror  to  the  English  throne.  The 
work  is  really  a kind  of  embroidery,  being  done  with  a needle  in 
worsteds  of  eight  different  colors,  but  as  it  has  been  known  and 
described  so  long  as  the  Bayeux  Tapestry  that  name  will  probably  never 
be  changed. 

The  earliest  mention  of  the  tapestry  is  found  in  the  inventory  of 
the  ornaments  in  the  Cathedral  of  Bayeux,  taken  in  1476.  It  was 
used  in  the  decoration  of  that  church  during  the  Feasts  of  the  Relics 
and  of  the  Dedication,  and  when  hung  up  it  measured  exactly  the 
length  of  the  walls  of  the  nave  round  which  it  was  placed.  Here  it  re- 
mained obscure  and  neglected  for  two  hundred  and  fifty  years,  until  in 
1724,  being  brought  by  a fortunate  accident  to  the  attention  of  the 
French  Academy  of  Inscriptions,  its  extraordinary  historical  value  was 
speedily  recognized,  and  steps  were  at  once  taken  to  save  it  from  being 
subjected  to  further  wear  and  tear.  It  is  now  kept  framed  and  glazed 
in  a building  especially  erected  for  its  exhibition,  where  it  is  guarded 
with  jealous  care  by  the  municipal  authorities  as  one  of  the  most  precious 
possessions  of  the  town. 

Once  only,  when  at  the  command  of  Napoleon  it  was  exhibited  for  a 
short  time  in  Paris,  has  the  tapestry  been  removed  from  Bayeux.  If  Mr. 
Fowke’s  conjecture  as  to  its  origin  is  correct,  it  was  probably  placed  in 
the  cathedral  of  that  town  within  a few  years  of  the  Conquest.  When 
we  consider  the  rude  and  disturbed  condition  of  Europe  in  those  days 
and  during  the  centuries  that  followed,  the  preservation  of  this  long  roll  of 
embroidered  linen  to  our  times  seems  little  short  of  miraculous. 

By  whom  the  tapestry  was  made,  whether  by  English  or  Norman 
workmen,  has  been  the  subject  of  a great  deal  of  conjecture.  Some 
think  that  it  is  the  handiwork  of  the  Queen  Matilda,  who  was  the  wife 
of  the  Conqueror.  Others  think  that  it  was  made  by  English  workmen 
for  the  Empress  Matilda,  his  grand-daughter,  who  in  this  way  com- 
memorated the  achievements  of  her  great  ancestor.  Mr.  Fowke’s 
opinion  is  that  the  tapestry  is  Norman  workmanship,  done  at  the  order 
of  Bishop  Odo  for  the  decoration  of  his  Cathedral  of  Bayeux,  which  he 
rebuilt  in  1077.  Accepting  this  latter  view  as  the  correct  one,  the 
tapestry  may  be  regarded  as  a contemporary  Norman  chronicle  of  the 


4 


events  of  the  Conquest.  These  events  are  shown  in  a series  of  seventy- 
two  compartments  or  scenes,  which  are  generally  separated  from  each 
other  by  conventionally  rendered  trees  or  buildings.  The  intention  of 
most  of  the  compartments  is  explained  by  Latin  inscriptions  placed  over 
them.  The  letters,  like  the  figures,  are  stitched  in  worsted.  While  the 
composition  of  the  groups  is  bold  and  spirited,  the  drawing  of  the 
figures  is  for  the  most  part  rude  and  uncouth,  nor  has  any  great  attention 
been  paid  to  the  representation  of  objects  in  their  natural  colors. 

Thus  horses  are  shown  as  blue,  green,  red,  and  yellow,  a circumstance 
no  doubt  due  to  the  limited  number  of  colors  at  the  artist’s  disposal. 

Working  with  flat  tints  the  embroiderers  had  no  means  of  giving  effects 
of  light  and  shade,  and  perspective  is  almost  wholly  disregarded.  To 
indicate  therefore  objects  at  different  distances  from  the  spectator  they 
employed  worsteds  of  different  colors.  Thus  a green  horse  has  his  off 
legs  red,  those  of  a yellow  horse  are  blue,  and  so  on. 

The  mode  of  working  has  been  to  cover  the  figures  with  worsted 
threads  laid  down  flat,  side  by  side,  and  then  bound  at  intervals  by  cross 
fastenings ; seams,  joints,  and  folds  being  indicated  by  a species  of  twist. 

The  faces  and  hands  of  persons  are  simply  stitched  in  outline  in  colored 
worsteds. 

The  really  historical  part  of  the  tapestry  is  confined  to  the  middle 
portion,  the  top  and  bottom  forming  fantastic  borders,  containing 
lions,  birds,  dragons,  &c.,  some  fables  of  .<Esop  and  Pha^drus,  and 
scenes  of  husbandry  and  the  chase.  Towards  the  end  the  border  is 
taken  into  the  thread  of  the  story,  and  it  frequently  contains  allegorical 
allusion  to  the  scenes  being  enacted  in  the  story  itself. 

Apart  from  the  historical  narrative  the  tapestry  furnishes  abundant  ma- 
terial for  studying  the  architecture,  the  arms  and  armor,  the  costumes, 
and  the  manners  and  customs  of  the  period  of  the  Conquest.  The  begin- 
nings of  heraldry  may  be  seen,  too,  in  the  blazons  on  the  shields  of  the 
knights. 

The  story  is  told  in  the  adventures  of  one  Harold,  a powerful  English 
earl,  who  was  brother-in-law  to  King  Eadward  the  Confessor.  Harold  |l 

was  sent  by  King  Eadward  to  Normandy  to  assure  Duke  William  of  his  ' 

succession  to  the  crown.  While  on  the  way  he  landed  on  the  coast  of 
Fonthieu,  and  was  taken  prisoner  by  a certain  Count  Guy,  the  lord  of  that 
region.  As  was  the  custom  in  those  days,  Guy  held  Harold  for  a heavy 
ransom.  When  Duke  William  heard  of  the  capture  of  Harold,  he  or- 
dered his  release,  and  had  him  brought  to  his  capital  of  Rouen.  While 
here  Harold  accompanied  William  on  a raid  into  Brittany.  Now,  while 
it  is  doubtful  whether  Harold  delivered  his  message,  or  whether  William 
had  or  had  not  previously  received  a promise  from  King  Eadward  relative 
to  the  succession,  it  is  certain  that  at  this  time  William  did,  for  some  reason 
or  other,  publicly  aspire  to  become  the  King  of  England.  Perhaps  it  was 
because  he  now  had  Harold  in  his  power.  Therefore,  knowing  that  Harold 
would  be  a powerful  rival  if  the  claim  should  be  disputed,  he  called  a 
great  assemblage  of  nobles  together,  and  announced  to  them  that  at 

> 

f 


5 


Eadvvard’s  death  he  meant  to  claim  the  crown.  Then  William  required 
Harold  to  take  a solemn  oath  before  the  assemblage  to  assist  him  in  his 
purpose.  The  oath  taken,  Harold  was  allowed  to  return  to  England. 
Within  a week  Eadward  died,  and  on  the  very  day  that  he  was  buried 
Harold  had  himself  crowned  King  of  England  by  the  English  Arch- 
bishop Stigand. 

When  William  heard  what  Harold  had  done,  he  prepared  to  invade 
England  and  punish  Harold  for  his  perfidy.  The  way  Harold  had  been 
crowned  aided  William’s  cause.  Stigand  was  an  archbishop  whom  the 
English  had  nominated,  and  whom  the  usurping  Pope  Boniface  had  ac- 
knowledged, but  whom  Pope  Alexander  had  repudiated.  Therefore, 
when  William  proclaimed  his  purpose.  Pope  Alexander  blessed  the  enter- 
prise and  sent  William  a consecrated  banner,  round  which  the  barons  of 
France  leagued  themselves  together.  Harold’s  rebel  brother  Tostig, 
and  the  King  of  Norway,  also  joined  their  forces  against  the  English 
king.  Harold  was  waiting  for  William  at  Hastings,  on  the  south 

coast.  When  he  heard  that  his  brother  Tostig  had  landed  up  in  the 
north,  and  was  besieging  York,  Harold  immediately  marched  to  the 
relief  of  that  town,  and  defeated  and  slew  Tostig  in  the  battle  of  Stam- 
ford Bridge.  Three  days  later  the  Normans  landed  at  Pevensey,  near 
Hastings,  and  Harold  had  to  hasten  south  again.  The  tapestry  nowends 
with  the  death  of  Harold  and  the  flight  of  the  English  after  the  battle  of 
Hastings.  It  may  be  conjectured  with  probability,  however,  that  the  ob- 
literated portion  completed  the  story  by  representing  the  pursuit  of  the 
Normans,  and  the  proclamation  of  William  as  King. 

The  bibliography  of  the  tapestry  would  by  itself  fill  a small  volume. 
Many  works  have  been  written  on  the  vexed  question  of  its  origin  and 
authorship,  and  of  the  true  significance  of  the  pictorial  chronicle.  Nu- 
merous special  treatises  descant  upon  the  lessons  to  be  learned  from  the 
heraldry,  the  arms  and  armor,  the  costumes  and  the  types  of  architecture 
that  are  figured  in  the  embroidery.  The  foremost  English  study  of  the 
work  is  that  made  by  Mr.  Frank  Rede  Fowke  in  his  book  entitled  The 
Bayeux  Tapestry.  The  student  may  also  consult  Freeman’s  History  of 
the  Norman  Conquest ; The  Bayeux  Tapestry,  by  Rev.  J.  C.  Bruce  ; Tex- 
tite  FabHcs,  by  Very  Rev.  D.  Rock ; Les  Arts  au  Moyen  Age,  by  Paul 
Lacroix  ; Notice  Historique  sur  la  Tapisserie,  by  l’abb6  J.  Laffetay. 


THE  BAYEUX  TAPESTRY. 


EDWARD  REX: 

King  Eadzcard. 

King  Eadward  the  Confessor  is  seated  on  a cushioned  throne  in 
a vaulted  apartment  of  his  royal  palace  of  Westminster. 

The  exterior  of  the  palace  shows  that  it  was  a building  of  con- 
siderable architectural  pretension.  The  face  of  the  tower  is  covered 
with  checkered  work,  of  which  examples  still  exist  in  Normandy. 
The  entrance  is  through  a gateway  under  a plain  semicircular 
arch. 

Eadward’s  crown  is  a simple  circlet  ornamented  with  fleurs-de-lys. 
A similar  decoration  terminates  the  sceptre  held  in  his  left  hand. 
With  his  right  hand  Eadward  emphasizes  the  remarks  he  is  address- 
ing to  two  persons  of  rank  standing  before  him.  The  taller  of 
them  is  Harold,  son  of  Earl  Godwine,  and  brother-in-law  to  the 
King. 

Two  interpretations  are  given  of  this  opening  scene:  One,  that 
Harold  is  seen  here  asking  permission  to  cross  the  sea  and  reclaim 
the  members  of  his  family  whom  King  Eadward  has  placed  with 
Duke  William  for  safe-keeping  as  hostages  for  Earl  Godwine’s  good 
behavior.  The  other,  that  it  represents  King  Eadward  commis- 
sioning Harold  to  proceed  to  Normandy  to  assure  Duke  William  of 
his  nomination  as  Eadward’s  successor  to  the  English  throne. 
Either  view  may  be  correct,  but  the  latter  is  more  in  accord  with 
the  general  plan  of  the  tapestry,  which  is  designed  to  strengthen 
the  Norman  claim  and  to  emphasize  the  perfidy  of  Harold. 

VBI:  HAROLD  DVX:  AXGLORVM  = ET  SVl 
MILITES:  EQVITANT:  AD  BOSH  AM: 

Where  Harold,  a chief  of  the  English,  and  his  knights, 
ride  to  Bosham. 

Bosham  was  a manor  on  the  south  coast  of  England,  opposite 
Picardy,  that  Harold  had  received  from  his  father.  He  goes 


7 


thither  to  prepare  for  his  departure  into  Normandy.  In  those 
days  great  men  spent  most  of  their  time  either  in  hunting  or  fight- 
ing. When  not  wearing  their  war-harness  they  were  following  the 
chase.  Hawking,  long  practiced  by  the  Normans,  had  already  be- 
come a favorite  pastime  with  the  Anglo-Saxons.  Harold  as  he 
rides  to  Bosham  amuses  himself  with  his  hawk  and  hounds.  Ob- 
serve that  Harold  wears  a mantle  or  cloak  fastened  at  the  right 
shoulder  with  a clasp.  This  garment  was  worn  only  by  persons  of 
distinction.  At  the  time  of  the  Conquest  the  dress  of  the  Anglo- 
Saxons  and  of  the  Normans  was  pretty  much  the  same.  The  body- 
covering of  men  was  a tunic,  open  in  front,  and  put  on  over  the 
head  like  a shirt.  It  was  girded  at  the  waist  by  a belt.  The 
length  of  the  tunic  indicated  the  rank  of  the  wearer.  With  the 
common  people  it  reached  only  to  the  knee.  Super-tunics,  and 
the  cloak  or  mantle  mentioned  above,  were  worn  only  by  people  of 
distinction  or  gentle  birth.  For  leg-covering  the  common  people 
wore  short  hose,  and  the  nobles  long  stockings,  often  reaching  to 
the  thigh.  Breeches  and  trousers  were  coming  into  use,  but  were 
not  yet  common.  Shoes  or  buskins  were  generally  worn.  Among 
the  Normans  there  was  a custom  of  ornamenting  the  shoes  with  little 
leather  straps  reaching  to  the  knee,  the  legs  being  wound  with  bands 
of  various  colors.  This  method  of  cross-gartering  is  frequently 
shown  in  the  tapestry. 

Another  fashion  that  may  be  noticed  here  was  the  manner  of  wear- 
ing the  hair  and  beard.  The  Norman  custom  was  to  have  the  head 
tonsured  and  the  face  clean-shaven.  The  Saxons  did  not  shave  the 
head  and  commonly  wore  moustaches.  This  distinction  is  gener- 
ally, although  not  always,  made  by  the  designer  of  the  tapestry. 
It  often  assists  us  in  interpreting  the  story.  Among  the  Saxons, 
King  Eadward  alone  is  represented  with  a chin  beard.  Among  the 
Normans,  Turold  the  dwarf,  two  ship-carpenters,  a sailor,  and  a 
guest  at  Bishop  Odo’s  table  all  have  chin  beards. 

At  the  period  represented  the  equipments  of  the  horses  were 
pretty  much  the  same  as  those  of  the  present  time.  The  saddles 
are  high-peaked  and  apparently  made  of  wood.  Stirrups  are  gen- 
erally, but  not  always,  used. 

ECCLESIA  : 

The  Church. 

After  his  arrival  at  Bosham  Harold  first  goes  to  the  church  to 
seek  a blessing  on  his  enterprise.  He  enters  the  sacred  edifice 


8 


with  reverent  genuflexions.  It  is  interesting  to  notice  how  many 
architectural  details  are  shown  in  this  rude  drawing;  the  ap- 
proach by  a flight  of  steps ; the  simple  nave  lighted  by  a clere- 
story ; the  buttressed  walls ; the  arched  entrance ; the  rounded 
shingles  or  tiles  nailed  to  the  framework  of  the  roof ; and  the 
crosses  at  either  end. 

His  devotions  finished,  Harold  returns  to  his  manor-house  to 
pa.ss  the  time  in  feasting  and  carousal  while  the  ship  is  making 
ready.  The  manor  is  built  like  an  ancient  peal-house,  vaulted  be- 
low and  divided  into  aisles.  The  feast  is  spread  in  a large  solar  or 
upper  hall,  reached  by  a flight  of  stairs  from  without.  Harold  and 
his  companions  are  seen  pledging  each  other  in  bowls  and  horns  of 
wine. 

me  HAROLD  •.•  MARE  NAVIGAVIT  •.•  ET  VELIS  ; 
VENTO:  PLENIS  VENIT:  IN  TERRA:  WTDONIS 
CO  Mins 

Here  Harold  set  sail  upon  the  sea,  and  with  sails  filled  by 
the  'wind  eaine  to  the  land  of  Count  Guy. 

A messenger  announces  that  the  preparations  for  the  voyage 
are  complete.  Harold  and  his  companions  wade  out  to  the  boat 
that  is  to  take  them  aboard  the  ship,  carrying  their  hounds  and 
hawk  with  them.  This  boat  is  fitted  with  thwarts  for  rowers,  and 
is  shown  again  in  the  scene  on  the  French  coast.  Harold’s  war- 
ship also  is  shown  twice — once  on  leaving  England  and  again  on 
approaching  the  land  of  Ponthieu  (Picardy)  of  which  Guy  was 
count. 

As  we  shall  see  later,  the  English  and  the  Norman  ships  were 
very  much  alike.  The  body  is  made  gay  with  bright-colored 
paints,  the  bow  and  stern  parts  are  surmounted  by  carved  and 
gilded  figure-heads.  The  single  mast  is  traversed  by  a yard  on 
which  the  square  and  party-colored  sail  is  set.  The  low  sides  of 
the  vessel  are  made  higher  while  sailing,  by  interlocking  the  shields 
of  the  soldiers  above  the  bulwarks.  Below  are  holes  for  thrusting 
out  oars  for  rowing.  A paddle  is  used  for  steering  the  ship. 

In  the  first  scene  are  shown  the  preparations  making  for  getting 
under  way.  Harold  has  taken  the  steering  paddle  and  is  directing 
the  setting  of  the  sail.  In  the  second  scene  we  have  depicted  the 
approach  to  shore ; the  watch  at  the  masthead  ; n»en  shortening 
sail ; others  poling  the  vessel ; and  a man  standing  ready  to  cast  the 
anchor. 


9 

HAROLD 

Harold. 

There  is  a tradition  that  Harold’s  ship  was  driven  by  stress 
of  weather  upon  the  coast  of  Ponthieu.  There  is  no  indication  of 
a storm  in  the  last  scene,  although  Harold’s  landing  is  evidently 
without  warlike  intention,  as  he  would  not  have  landed  clad  only 
in  his  mantle  and  without  other  armor  than  a spear,  had  his  purpose 
been  hostile.  Again,  the  seizure  of  the  party  by  Count  Guy  accords 
with  the  custom  of  the  day  of  making  prisoners  of  all  strangers 
cast  by  a tempest  upon  the  coast  and  holding  them  for  ransom. 

HIC:  APFREHENDIT:  WIDO  : HAROLDV  : 

Here  Guy  seized  Harold. 

Harold  and  his  attendants,  after  a brief  struggle,  are  made 
prisoners  by  Count  Guy  and  his  party.  The  latter  are  well  armed 
and  mounted  on  powerful  Norman  steeds.  The  difference  in  size 
between  the  horses  of  Normandy  and  of  England  is  noticeable  in 
the  tapestry.  The  shields  carried  by  the  men  of  Guy  are  covered 
with  strange  devices,  in  which  some  antiquarians  see  the  rudiments 
of  the  heraldic  blazon  which  is  found  in  the  time  of  the  Crusades. 

ET  DVXIT:  EVM  AD  BELREM : ET  IBI  EVM : 

TEXVIT : 

And  led  him  to  Beaurain  and  there  imprisoned  him. 

The  capture  effected,  Guy’s  party  turns  about  and  proceeds  to 
Guy’s  chateau  of  Beaurain.  Harold’s  companions  walk  first  in  the 
custody  of  two  of  the  Count’s  soldiers.  There  is  some  doubt  as  to 
which  of  the  two  mounted  figures,  each  with  a hawk  upon  his  fist, 
is  intended  to  represent  Harold.  The  foremost  figure  is  usually 
taken  to  be  Guy,  but  more  probably  represents  Harold.  He  has 
a moustache  and  wears  a cloak,  like  Harold  in  the  landing  scene. 
He  is  also  unarmed,  while  the  second  figure  is  armed  and  spurred, 
is  clean  shaven  and  without  a cloak,  in  all  of  which  points  he  cor- 
responds with  the  previous  portrait  of  Guy. 

VBI:  HAROLD:  T WIDO:  PARABOLANT: 

Where  Harold  and  Guy  converse. 

Harold  is  given  audience  in  a vaulted  apartment  of  the  chateau. 
The  ceiling  is  carried  on  slender  shafts  curiously  foliated  in  the 


10 


middle  and  terminating  in  a heavy  capital.  His  sword  has  been 
restored  to  him  and  he  is  accompanied  by  an  attendant.  Guy  is 
seated  upon  a throne  and  holds  a sword  of  justice  in  his  hand.  An 
attendant  endeavors  to  call  his  attention  to  something  passing  with- 
out— possibly  the  approach  of  the  messengers  whom  we  shall  see  in 
the  next  picture.  From  the  antic  dress  and  attitude  of  the  man  by 
the  column,  he  has  been  conjectured  to  be  the  Count’s  jester ; but 
where  so  much  is  guess-work,  we  may  venture  the  suggestion  that 
this  man  represents  the  woodsman  whom  we  shall  see  three  scenes 
farther  on. 

VBI:  NVNTII:  WILLELMI  : DVCIS:  VENERVNT: 
. AD  W I DONE 

Where  Duke  William's  inesscrigers  came  to  Guy. 

In  this  section  and  in  the  two  following  sections,  the  order  of  time 
is  reversed.  In  this  section  we  see  the  arrival  of  two  messengers 
sent  by  Duke  William  to  demand  Harold’s  release.  In  the  next 
we  shall  see  them  on  the  road,  and  in  the  third  we  find  them  start- 
ing on  their  errand. 

Guy  receives  the  messengers  in  an  unfriendly  manner.  He  holds 
his  battle-axe  in  his  hand  and  has  his  war-harness  on  under  his 
cloak.  His  attendant  appears  to  be  threatening  the  messengers. 
We  shall  see,  however,  that  he  was  finally  persuaded  to  yield  to  the 
Duke’s  demand. 

In  the  lower  margin  of  this  section  is  a most  interesting  agricul- 
tural scene.  One  man  is  ploughing  the  land,  another  harrowing 
the  furrows,  and  a third  sowing  seed.  A youth  is  driving  away  the 
birds  with  a sling.  It  is  noteworthy  to  observe  that  we  do  not  find 
the  use  of  the  sling  depicted  in  any  of  the  scenes  of  combat,  so  that 
presumably  it  was  only  used  as  a weapon  of  the  chase. 

TVROLD. 

Turold. 

Under  this  name  we  see  a dwarf,  who  is  holding  the  messengers’ 
horses.  This  little  figure  has  been  commonly  supposed  to  represent 
the  designer  of  the  tapestry,  who  has  taken  this  method  of  intro- 
ducing himself  and  his  name  into  the  work.  Mr.  Fowke,  however, 
is  of  the  opinion  that  Turold  is  the  name  of  one  of  the  messengers, 
and  that  the  name  has  been  inclosed  between  the  two  lines  attaching 


II 


it  to  the  back  of  the  person  indicated,  that  there  may  be  no  mis- 
take as  to  his  identity. 

Whoever  the  dwarf  may  be,  there  is  no  mistaking  his  nationality 
because,  although  he  wears  a beard,  his  head  is  shaven  in  the  Norman 
fashion. 

NVNTII:  WILLELMI 

I Villiam's  Messengers. 

The  messengers  are  galloping  toward  Beaurain,  which  is  shown 
here  in  a view  of  the  exterior.  The  watchman  in  the  tree  is  com- 
monly said  to  be  one  of  Duke  William’s  men,  who  looks  after  the 
messengers  until  they  are  out  of  sight.  We  have  ventured  the  sug- 
gestion that  this  is  the  man  in  the  third  scene  back,  who  is  com- 
monly taken  to  be  the  Count’s  jester.  He  is  one  of  Count  Guy’s 
men,  perhaps  a woodsman,  who  discovers  the  approach  of  the 
messengers  and  hastens  by  some  short  path  to  apprise  his  master 
of  their  coming.  In  the  former  scene  we  see  this  man  ushered  into 
the  presence  of  Count  Guy  by  an  attendant,  who  interrupts  the 
Count  to  tell  him  what  important  news  the  woodsman  brings. 

+ HIC  VENIT:  NVNTIVS  : AD  WILGELMVM 
DVCEM 

Here  the  messenger  came  to  Duke  William. 

William  was  at  his  castle  of  Rouen  when  the  Englishman  who 
apprised  him  of  Harold’s  capture  arrived.  The  man  presents  him- 
self as  a suppliant,  and  is  kindly  received  by  the  Duke.  The  latter 
immediately  dispatches  the  two  knights  accompanying  the  messen- 
ger to  demand  Harold’s  ransom.  William  is  seated  on  a throne 
very  similar  to  the  throne  of  Guy.  His  castle  of  Rouen  is  repre- 
sented as  a strong,  square  fortress,  the  ramparts  flanked  with  towers 
dominated  by  a massive  keep.  The  ashlar  work  is  very  distinctly 
shown  in  this  building. 

HIC:  WIDO:  ADDVXIT  HAROLDVM  AD  WIL- 
GELMVM : NORMANNORVM : DVCEM 

Here  Guy  conducted  Harold  to  William,  Duke  of  the 

Normans. 

We  see  here  the  result  of  William’s  demand.  The  Count  of  Pon- 
thieu  himself  delivers  Harold  to  the  Duke.  Both  parties  are  ac- 
companied by  armed  escorts.  Harold  has  had  his  spurs  returned 


to  him  and  he  wears,  in  common  with  Guy  and  William,  the 
mantle  of  noble  birth.  The  figure  of  William  is  drawn  with  un- 
usual care,  and  it  becomes  peculiarly  interesting  when  we  reflect 
that  this  picture  may  be  no  fancy  portrait,  that  the  designer  of 
the  tapestry  may  have  looked  upon  the  Conqueror  and  drawn  this 
design  from  life. 

HIC:  DVX:-\VILGELM  : CVM  HAROLDO: 
VENIT:  AD  PALATIV  SVV 

Here  Duke  William,  together  ivith  Harold,  came  to  his  palace. 

A watchman  on  a tower  is  on  the  lookout  for  the  approach  of  the 
party.  The  building  represented  is  supposed  to  be  William’s  pal- 
ace at  Rouen.  After  their  arrival  William  receives  Harold  in  a 
vast  apartment,  the  roof  of  which  appears  to  be  supported  on  arches, 
somewhat  like  a clerestory.  We  are  now  approaching  the  most 
puzzling  portion  of  the  tapestry.  What  was  the  nature  of  the  inter- 
view between  Harold  and  William,  and  did  it  have  any  connection 
with  the  scene  next  following?  Some  commentators  find  no  con- 
nection between  the  scenes,  and  assert  that  here  we  have  Harold 
delivering  his  message  from  King  Eadward  or  praying  William  to 
send  messengers  to  England  with  news  of  his  rescue.  Other  com- 
mentators connect  the  scenes  by  interpreting  this  one  as  show- 
ing Harold  promising  to  marry  William’s  daughter,  and  the  next 
one  as  showing  a clerk  receiving  the  promise  of  acceptance  from 
the  princess,  and  giving  her  a cuff  on  the  cheek  that  she  may  not 
forget  her  troth.  The  above  and  many  other  conjectures  regard- 
ing the  meaning  of  these  scenes  have  been  made — no  one  of  which, 
however,  is  altogether  satisfactory.  Mr.  Fowke  connects  the  scenes 
by  still  another  reading,  which,  as  it  has  several  elements  of  proba- 
bility, is  the  one  that  we  shall  adopt.  This  reading  is  given  with 
the  next  scene. 

VBI:  VNVS;  CLERICVS:  ETi-^ELFGVVA 

Where  a certain  Clerk  and  AUfgyva. . . . 

The  inscription  here,  either  by  design  or  accident,  is  incomplete. 
JSAigyva.  is  the  name  of  a Saxon  lady,  perhaps  of  Harold’s  sister, 
who  accompanied  Wulfnoth  when  he  was  sent  by  Eadward  into 
Normandy.  At  any  rate,  Ailfgyva  is  some  one  in  whom  Harold  is 
interested.  In  his  interview  with  William,  Harold  announces  to 
the  Duke  that  he  has  learned  that  yElfgyva  is  at  Dol — a town  on  the 


13 


borders  of  Brittany — and  that  violence  has  been  offered  to  her.  He 
begs  William’s  aid  to  rescue  her.  William,  who  is  about  making 
an  expedition  against  Conan,  Count  of  Brittany,  readily  acquiesces. 
In  this  picture  of  ^Ifgyva  being  carried  off  from  the  door  of  her 
residence,  we  are  shown  the  cause  of  Harold’s  solicitude.  The 
next  scene  shows  the  departure  of  the  expedition. 

HIC-  WILLEM:  DVX  : ET  EXERCITVS:  EIVS: 
VEXERVNT:  AD  MONTE  MICHAELIS 

Here  Dtike  William  and  his  army  eame  to  Mont  Saint-Michel. 

The  route  of  the  expedition  is  indicated  by  a view  of  Mont 
Saint-Michel.  The  abbe  Laffetay  directs  attention  to  the  different 
styles  of  military  dress  depicted  here.  He  states  that  those  wearing 
coats  of  mail  and  helmets  with  the  nose-piece  are  the  knights. 
The  others  dressed  inj|)lain  tunics  and  caps  are  the  common  soldiers. 
The  cross  already  appears  on  William’s  standard. 

ET  HIC:  TRANSIERVNT:  FLVMEN:  COSNONIS: 

And  here  they  crossed  the  River  Cones  non. 

The  River  Couesnon,  the  boundary  between  Normandy  and  Brit- 
tany, empties  into  the  bay  of  Cancale  immediately  opposite  Mont 
Saint-Michel.  It  is  famous  for  its  treacherous  and  shifting  sands, 
and  the  more  wary  of  William’s  soldiers  dismount  and  cross  on 
foot,  carrying  their  arms  above  their  heads. 

HIC:  HAROLD:  DVX*:  TRAHEBAT : EOS  :•  DE 

ARENA 

Here  Harold  the  Earl  dragged  them  out  of  the  Quicksand. 

Harold  is  here  shown  exerting  the  strength  for  which  he  was 
famous.  He  has  caught  one  drowning  man  up  upon  his  back,  and 
is  dragging  another  forward  by  the  hand.  The  designer  by  record- 
ing this  incident  indicates  the  impression  that  feats  of  bodily 
prowess  made  upon  the  minds  of  people  in  those  days. 

ET  VENERVNT  AD  DOL:  ET : CONAN  :•  FVGA 

VERTIT  :• 

A7id  they  came  to  Dol  and  Conan  fled. 

The  siege  of  Dol  by  Conan  would  appear  to  have  been  unknown 
to  William.  His  soldiers,  galloping  up  to  the  walls,  are  not  in 


H 


armor.  Nevertheless,  Conan’s  soldiers  are  represented  as  fleeing 
upon  their  approach.  The  man  escaping  from  the  besieged  town 
by  a rope  may  be  a messenger  sent  to  William  to  acquaint  him  with 
the  condition  of  affairs. 


REDNES 

Re7ines. 

Rennes  was  the  capital  of  Brittany  and  thither  Conan  fled  to  rally 
his  forces.  At  least,  this  is  the  reason  commonly  assigned  for  the 
introduction  here  of  this  distant  view  of  the  castle. 

me  MILITES  WILLELMI:  DVCIS:  FVCxNANT : 
CONTRA  DINANTES  :•  ET:  CVNAN  : CLAVES 

porrexit:- 

Here  Duke  William's  soldiers  fight  against  the  men  of  Dman, 
and  Conan  reaehed  out  the  keys. 

Here  we  have  a spirited  illustration  of  an  attack  on  a fortified 
town  in  the  middle  of  the  eleventh  century.  The  town  is  sur- 
rounded by  the  customary  fosse  and  vallum.  A gate  at  the  lower 
end  of  the  bridge  guards  the  approach.  A massive  keep  overlooks 
the  walls.  The  Norman  soldiers  in  full  armor  rush  to  the  attack. 
A party  comes  out  to  repulse  them.  Taking  advantage  of  this  di- 
version, two  knights  unobserved  set  fire  to  the  palisades.  This 
probably  puts  an  end  to  further  resistance,  and  the  final  surrender 
is  accomplished  by  the  beleaguered  chief  handing  the  keys  over  the 
walls  on  the  point  of  his  lance,  to  William,  who  receives  them  in 
the  same  manner. 

The  capture  of  Dinan  is  an  event  recorded  only  in  this  tapestry, 
as,  according  to  Lancelot,  no  mention  of  it  is  made  by  any  of  the 
historians  of  the  time.  The  designer  of  the  tapestry  probably  ob- 
tained the  details  which  have  been  preserved  to  us  from  the  descrip- 
tions of  those  who  returned  to  Bayeux  after  the  expedition. 

niC:  WILLELM:  DEDIT:  IIAROLDO:  ARMA 

Here  William  gave  arms  to  Harold. 

By  this  act  William  gives  Harold  a crowning  proof  of  his  favor 
and  esteem.  The  ceremony  is  significant  of  knighthood.  Both 
figures  are  armed  cap  d pie,  and  Harold  holds  in  his  hand  the  ban- 
ner which  by  virtue  of  the  dignity  now  bestowed  upon  him  he  is 
entitled  to  bear. 


15 


The  defensive  armor  of  the  Normans  and  Saxons  at  the  time  of 
the  Conquest  was  very  much  alike.  It  was  of  two  kinds,  formed 
respectively  of  leather  and  of  steel.  The  former  consisted  of  a 
tunic  made  of  numerous  overlapping  flaps.  The  archers  wore 
leather  jerkins,  with  a cap  to  guard  the  head.  The  steel  armor 
was  formed  of  flat  rings  sewed  on  a foundation  of  leather  or  cloth. 
It  was  either  a cuirass  or  tunic,  or  haubergeon — like  that  shown 
here,  which  forms  at  once  breeches,  jacket,  and  hood.  The  head 
was  protected  by  a conical  steel  helmet  with  a projecting  flap  or 
nose-guard.  Besides  the  harness,  the  knights  carried  a kite-shaped 
shield.  In  one  or  two  places  in  the  tapestry  Harold’s  companions 
are  represented  as  carrying  a round  shield  with  a projecting  boss. 
This  Mr.  Fowke  regards  as  the  truly  English  type.  For  weapons, 
the  Normans  carried  a bow  and  arrows,  a lance,  sword,  and  mace. 
The  English  carried  the  javelin  and  the  sword,  and  were  beginning 
to  use  the  bow  and  arrow  as  weapons,  but  their  distinctive  arm  was 
the  axe,  sometimes  one-handed,  but  generally  the  ponderous  two- 
handed  weapon. 

MIC  WILLELM  VENIT:  BAGIAS  VBI  HAROLD: 
SACRAMENTVM:  FECIT  :•  WILLELMO  DVCi:- 

Here  William  'came  to  Bayeux,  zvhere  Harold  made  an  oath 
to  Duke  William. 

Historians  differ  as  to  the  place  where  Harold  took  his  celebrated 
oath.  Wace,  in  his  Roman  de  Rou,  agrees  with  the  tapestry  in 
making  Bayeux  the  locality.  Opinions  differ,  also,  as  to  the  na- 
ture of  the  oath  itself.  The  story  commonly  accepted  is  that 
Harold  swore  to  marry  William’s  daughter,  to  give  his  own  sister 
in  marriage  to  a Norman  noble,  and  to  deliver  up  England  to 
William  upon  the  death  of  Eadward.  Tradition  adds  that  having 
assembled  his  parliament  William  caused  a chest  to  be  filled  with  the 
holiest  relics  that  he  could  find,  and  covered  it  with  a pall.  Har- 
old took  the  oath  with  his  hand  upon  the  pall,  after  which,  Will- 
iam, to  make  the  oath  more  binding,  uncovered  the  chest  and 
showed  Harold  on  what  holy  relics  he  had  sworn.  The  tapestry 
shows  us  the  party  approaching  Bayeux  by  a bridge  of  the  ordi- 
nary construction.  The  dome  of  the  cathedral  rises  above  the 
walls.  The  ceremony  of  administering  the  oath  takes  place  out- 
of-doors.  William  is  seated  in  state  upon  his  throne.  Harold 
stands  bareheaded  between  a reliquary  and  an  altar  bearing  the 


i6 


host,  with  his  hand  resting  upon  one  and  his  fingers  touching  the 
other,  while  he  registers  his  vow. 

This  scene  was  borrowed  from  the  tapestry  to  be  sculptured  on 
one  of  the  columns  in  the  nave  of  the  cathedral. 

MIC  HAROLD:  DVX  :•  REVERSVS:  EST  AD 
ANGLICAM:  TERRAM  :• 

Here  Harold  the  Earl  returned  to  England. 

When  William  had  extorted  from  the  Saxon  an  oath  of  fealty 
he  gave  him  safe  conduct  to  return  to  England.  Harold  is  seen 
crossing  the  sea  in  a ship,  seemingly  manned  by  Norman  sailors. 
The  building  on  the  shore  has  been  conjectured  to  represent 
Harold’s  palace  of  Bosham.  The  approach  of  the  ship  has  been 
observed.  The  windows  of  the  house  are  filled  with  curious  gazers. 
One  figure,  that  may  be  Harold’s  wife  Ealdgyth,  has  come  out 
upon  the  balcony  to  signal  welcome  to  the  returning  voyagers. 

ET  VENIT:  AD:  EDWARDV!-  REGEM  :• 

And  eame  to  King  Eadxoard. 

On  his  arrival  in  England  Harold  takes  horse  and  sends  his 
squire  ahead  to  Westminster  to  announce  his  coming.  In  his  audi- 
ence with  the  King  the  latter  is  represented  as  enfeebled  by  age 
and  sickness,  seated  on  his  throne  with  his  sceptre  reversed  in  his 
hand. 

HIC  PORTATVR:  CORPVS^  EADWARDI : REGIS: 
AD:  ECCLESIAM:  SCT  PETRI  APLI 

Here  King  Eadivard's  body  is  carried  to  the  church  of 
St.  Peter  the  Apostle. 

Here  again  the  order  of  time  is  inverted,  the  scene  of  Eadward’s 
ob-sequies  preceding  the  scene  of  his  sickness  and  death.  The 
funeral  ceremonies  are  strikingly  simple.  The  body  of  the  King, 
enclosed  in  a sack,  is  laid  on  a bier  borne  upon  the  shoulders  of 
eight  noblemen.  Crosses  are  set  up  at  the  ends  of  the  bier.  Boys 
ringing  bells  walk  beside  the  body.  Behind  follow  a group  of 
clergy,  surrounding  the  two  chief  ministers  of  the  ceremony,  who 
are  carrying  their  office-books. 

The  procession  is  moving  toward  the  Church  of  St.  Peter  the 
.\postle  (Westminster  .\bbey).  The  hand  issuing  from  a cloud 


I? 


above  the  church  may  represent  the  divine  benediction  of  the  dead 
King,  or  it  may  be  an  emblem  of  the  peculiarly  sacred  character  of 
the  church  edifice.  The  recent  completion  of  the  church  is  indi- 
cated by  the  workman  fixing  the  weather-cock  upon  the  east  end. 
The  new  edifice  is  seen  to  have  consisted  of  a nave  and  chancel, 
the  junction  occupied  by  a lofty  tower  terminating  in  a cross- 
crowned  dome. 

HIC  EADWARDVS:  REX  IN  LECTO  i ALLOQVIT^: 

FIDELIS  :• 

Here  King  Eadward,  in  bed,  speaks  to  his  Vassals. 

The  King  is  dressed  in  his  royal  robes  and  wears  his  royal  crown, 
a circlet  of  gold  surmounted  by  fleurs-de-lys.  From  contemporary 
accounts  of  the  death  of  Eadward,  we  may  discover  who  the  other 
figures  in  the  scene  probably  represent.  Robert  the  Staller  sup- 
ports his  royal  master.  Archbishop  Stigand  and  Harold  stand 
beside  him.  Harold’s  sister,  the  Lady  Eadgyth,  kneels  at  the  feet 
of  her  husband. 

According  to  Wace  the  historian,  Harold  assembled  his  friends 
and  brought  them  into  the  presence  of  the  dying  King,  where  one 
of  them,  speaking  for  the  rest,  begged  Eadward  to  name  Harold  as 
his  successor.  The  King  replied  that  he  had  given  the  realm  at 
his  death  to  the  Duke  of  Normandy.  But  Harold  urged  him, 
whatever  he  had  done  before,  to  consent  now  that  he — Harold — be 
king.  So  at  last  the  King  said  : “ Let  the  English  make  the  Duke 
or  Harold  king,  as  they  please ; I consent.”  Thus  the  barons  had 
their  will. 

ET  HIC:  DEFVNCTVS  EST 

And  here  he  is  dead. 

Two  attendants  are  preparing  the  body  for  burial  in  the  presence 
of  an  ecclesiastic,  probably  Stigand  the  archbishop. 

HICDEDERVNT:  HAROLDO:  CORO • NA : REGIS 

Here  they  gave  the  King’s  crown  to  Harold. 

As  soon  as  Eadward  was  dead  the  Witan  of  England  assembled  and 
declared  in  favor  of  Harold  as  his  successor.  The  scene  represents 
two  of  the  assembly  notifying  Harold  of  their  choice.  They  bring 
with  them  the  crown  and  the  official  axe. 


i8 


HIC  RESIDET:  HAROLD  REX:  ANGLORVM  : 

Here  is  seated  Harold,  King  of  the  English. 

The  coronation  of  Harold  is  here  represented  as  having  been  at- 
tended with  the  usual  ecclesiastical  rights.  Archbishop  Stigand, 
the  officiating  prelate,  stands  beside  the  throne.  The  scene  is  an 
apartment  in  Westminster,  and  without  the  palace  the  people  are 
applauding  the  new  King. 

STIGANT  ARCniEPS 

Archbishop  Stigand. 

The  inference  intended  to  be  drawn  from  the  tapestry  is,  that 
Harold  was  consecrated  by  Archbishop  Stigand ; thus  invali- 
dating his  title  to  the  throne,  because  the  ecclesiastical  position  of 
Stigand  was  very  doubtful.  The  see  of  Canterbury  had  been  be- 
stowed upon  him  by  the  King’s  writ,  but  the  Pope  refused  him  the 
pallium.  He  was  afterwards  invested  by  Benedict,  the  anti-pope, 
but  this  only  complicated  matters.  Stigand  was  finally  deposed 
and  degraded  from  the  clerical  order. 

ISTI  MIRANT  STELLA 

These  men  are  dismayed  at  the  Star. 

The  appearance  of  this  comet  is  recorded  in  nearly  every  chron- 
icle of  the  day,  and  it  was  generally  accepted  as  a presage  of  the 
conquest  of  England.  The  representation  is  especially  interesting 
as  affording  the  earliest  known  illustration  of  these  erratic  bodies. 

HAROLD 

Harold. 

Harold  is  bending  forward  to  listen  to  a messenger.  The  mes- 
senger brings  a sword,  and  Harold  holds  a javelin  in  his  hand.  This, 
in  connection  with  the  ships  in  the  border,  may  signify  news  of 
William’s  invasion.  Or  the  group  may  be  taken  to  show  how  Har- 
old received  the  tidings  of  the  appearance  of  the  comet  and  the  in- 
terpretations of  the  omen. 

HIC:  NAVIS:  ANGLICA:  VENIT  • IN  TERRAM 
WILLELMI:  DUCIS 

Here  an  English  ship  camei)ito  the  territory  of  Duke  William. 

Of  the  many  Normans  whom  Eadward  had  brought  into  England, 
some  were  allowed  to  remain  after  Harold’s  succession  to  the  throne. 
Some  of  these,  doubtless,  sent  William  the  news  of  Eadward’s  death 
and  Harold’s  coronation. 


19 


MIC:  WILLELM  DVX : IVSSIT  NAVES  i 
EDIFICARE: 

Here  Duke  William  gave  orders  to  build  ships. 
William’s  decision  of  character  is  indicated  here.  As  soon  as 
the  messenger  has  made  known  to  him  the  state  of  affairs  in  England 
he  determines  what  course  he  will  pursue.  We  see  him  ordering 
a ship-carpenter  to  set  men  to  work  at  once  building  ships.  In 
this  scene  Bishop  Odo,  William’s  half-brother,  whom  we  recognize 
by  his  tonsure,  appears  for  the  first  time.  We  shall  shortly  see  what 
an  active  part  he  took  in  the  invasion.  The  architecture  of  the  room 
in  which  William  is  seated  is  interesting.  The  roof  is  in  the  form 
of  a compressed  dome  lighted  by  a lantern  in  the  centre. 

HIC  TRAHVNT:  NAVES:  AD  MAREb 

Here  they  drag  the  ships  to  the  sea. 

The  work  of  building  the  ships  went  actively  forward,  and  as 
they  were  completed  the  vessels  were  dragged  down  to  the  sea 
and  launched.  Had  the  ships  been  of  large  size  they  could  hardly 
have  been  moved  in  this  manner. 

ISTI  FORTANT:  ARMAS:  AD  NAVES:  ET  IIIC 
TRAHVNT:  CARRVM  CVM  ViNO:  ETARMlSi 

* 

These  men  carry  the  arms  to  the  ships,  and  here  they  drag  a 
cart  with  ivine  and  arms. 

The  men  are  bringing  arms  and  provisions  from  a store-house  to 
the  ships.  The  great  weight  of  the  hauberk  is  shown  by  the  way  in 
which  it  is  carried.  One  man  has  a cask  on  his  shoulder  and  an- 
other a wine-skin  bottle.  A large  cask  on  a cart  is  kept  in  place 
by  a rack  of  spears  and  helmets.  It  has  been  remarked  that  the 
Normans  supplied  themselves  with  wine,  leaving  England  to  supply 
them  with  food. 

+ HIC:  WILLELM:  DVX  IN  MAGNO : NAVIGIO: 
MARE  TRANSIVIT  ET  VENIT  AD  PEVENES.T)  :• 

Here  Duke  William  crossed  over  the  sea  in  a great  ship,  and 
came  to  Pevensey. 

William’s  departure  from  S.  Valery-sur-Somme  on  the  27th  Sep- 
tember, 1066,  is  witnessed  from  the  shore  by  a company  of  his 


20 


knights.  All  the  boats  are  crowded  with  soldiers,  and  many  of 
them  carry  horses.  In  the  midst  of  the  fleet  we  recognize  the  ducal 
ship,  the  historic  Mora,  the  gift  of  William’s  wife.  On  the  stern 
is  the  effigy  of  their  little  son  Rufus,  and  at  the  masthead  is  the 
consecrated  banner  with  which  Pope  Alexander  II.  sanctioned  the 
expedition.  Early  the  next  morning  the  shores  of  England  were 
sighted,  and  by  nine  o’clock  William  had  landed,  unopposed,  at 
Pevensey. 

HIC  EXEVXT:  CABALLI  DE  NAVIBVS!- 

Here  the  horses  go  out  of  the  ships. 

Landing  horses  from  ships  is  always,  even  now,  a matter  of  some 
difficulty,  and  we  may  conjecture  from  the  event  being  recorded 
here,  that  the  disembarkation  of  the  animals  after  their  voyage 
across  the  channel  occasioned  considerable  trouble. 

ET  HIC:  MILITES:  FESTINAVERVNT : HEST- 
INGA:  VT  CIBVM  . RAPERENTVRi 

And  here  the  knights  pushed  on  to  Hastings  to  find  food. 

The  eagerness  of  the  soldiers  to  forage  for  breakfast  is  shown  in 
this  scene.  As  soon  as  the  ships  were  drawn  on  shore  a party  of 
horsemen  set  off.  We  see,  too,  how  successful  they  were.  The 
English  have  fled  from  their  homes — square  wooden  houses,  seem- 
ingly— leaving  sheep,  oxen,  and  pigs  behind  to  be  seized.  It  is 
interesting  to  note  the  use  of  the  lasso  by  one  of  the  foragers. 


II  1C:  EST:  WADARD  : 

Here  is  Wadard. 

Lancelot,  in  commenting  upon  the  tapestry,  says  that  it  men- 
tions incidents  and  proper  names  unrecorded  by  the  chroniclers  of 
the  time,  from  which  we  must  conclude  that  it  has  not  copied  any 
historian,  but  is  an  original  work  contemporary  with  the  Conquest. 
This  mention  of  Wadard  is  a case  in  point.  We  know  nothing 
more  of  him  than  is  shown  here,  where  he  appears  sharing  in  the 
amusement  of  a footman  over  the  capture  of  a comical  little  j)ack- 
horse. 


21 


HIC:  COQVITER:  CARO  ET  HIC:  MINISTRA- 
VERVN  MINISTRI  : 

Here  meat  is  cooked  and  here  the  servants  serve. 

The  sequence  of  events  in  these  scenes  is  very  entertaining.  Hav- 
ing foraged  successfully,  the  soldiers  give  the  servants  the  food  to 
prepare  for  the  meal.  Two  men  suspend  a large  pot  between  forked 
sticks  over  a fire.  Behind  them  on  a shelf  are  fowl  spitted  for  broil- 
ing. A baker  is  engaged  in  taking  cakes  from  a stove.  Other  men 
are  handing  the  cooked  meats  in,  to  be  placed  on  the  table  or  side- 
board improvised  from  the  shields  of  the  soldiers.  A blast  on  a 
horn  announces  that  the  meal  is  prepared. 

HIC  FECERVN^^PRANDIVM:  ET  • HIC  • EPISCO- 
PVS:  CIBV:  ET  : POTV : BENEDICIT: 

Here  they  make  a feast,  and  here  the  Bishop  blesses  the  food 

and  drink. 

In  this  scene,  the  feast  that  we  have  just  seen  in  preparation  is 
in  progress.  The  table  is  in  the  form  of  a half  circle,  served  from 
within.  On  it  are  fish,  viands  of  different  kinds,  drinking  vessels 
of  several  shapes,  knives,  and  other  small  articles.  A kneeling 
servant  is  offering  a covered  porringer  to  one  of  the  guests.  Bishop 
Odo,  seated  at  William’s  left  hand,  is  asking  a blessing  on  the  repast. 

ODO:  EPS:  ROTBERT:- 

WILLELM  : 

Bishop  Odo.  Robert.  William. 

A temporary  pavilion  has  been  erected  for  William.  Here  he 
holds  a council  of  war  with  his  half-brothers  Odo  and  Count  Robert 
of  Mortain.  Odo  is  speaking,  and  his  words  are  earnestly  listened 
to  by  the  others. 

ISTE  • IVSSIT  : VT  FODERETVR  : CASTELLVM  : 
AT  • HESTENG^ 

The  latter  commanded  that  a rampart  should  be  throivn  up  at 

Hastings. 

The  latter,  that  is,  Robert  of  Mortain,  gives  the  order  to  the 
workmen  and  superintends  the  work.  Picks,  shovels,  and  spades 
are  used  by  the  laborers.  The  spades  are  peculiar  as  having  but 
one  tread  for  the  foot. 


22 


CEASTRA 

The  camp. 

An  intrenchment  and  mound  are  rapidly  made,  and  on  the  latter 
a fort  is  erected.  The  fort  probably  represents  one  of  the  portable 
wooden  strongholds  that  the  Normans  carried  with  them  in  war. 

HIC;  NVNTIATVM  EST:  WILLELM  DE  HAROLD: 

Here  tidings  of  Harold  arc  brotight  to  William. 

An  armed  knight  is  giving  William  news  of  Harold.  Probably 
he  is  telling  him  of  the  success  of  the  Saxon  forces  in  the  North 
against  William’s  Scandinavian  allies,  and  that  the  victorious  troops 
are  now  hurrying  southward  to  engage  the  Normans.  William  is 
represented  seated  and  holding  the  consecrated  banner  in  his  hand. 

HIC:  DOM  VS:  INCENDITVR: 

Here  a house  is  burnt. 

Harold  intrenched  his  forces  on  the  hill  of  Senlac  on  the  13th  of 
October,  and  is  reported  to  have  laid  waste  the  surrounding  coun- 
try in  order  to  starve  the  invaders  into  favorable  terms.  Mr. 
Fowke,  however,  points  out  that  the  incendiaries,  in  the  scene  be- 
fore us,  are  plainly  Normans,  and  that  the  superior  style  of  the 
house  shows  that  it  was  a dwelling  of  a person  of  note. 

HIC:  MILITE":  EXIERVNT:  DEHESTENGA:  ET: 
VENERVNT  AD  PRELiVM  : CONTRA:  HAROL- 
DVM: REGEi 

Here  the  knights  left  Hastings,  and  came  to  give  battle  to 
King  Harold. 

Before  the  army  starts  on  its  march,  William,  in  a kind  of  avant- 
scene  comes  forth  fully  armed  from  his  quarters  at  Hastings  and 
mounts  his  charger.  Then  traversing  a small  wood  he  puts  himself 
at  the  head  of  his  army.  In  the  passage  he  has  exchanged  his  sword 
for  a mace.  The  knight  who  follows  him  is  armed  in  the  same 
manner.  They  are  accompanied  by  two  standard-bearers — one 
carrying  the  consecrated  banner,  and  the  other  carrying  a banner 
that  has  been  thought  to  represent  the  celebrated  Black  Raven  of 
the  Danes. 


23 


HIC:  WILLELM:  DVX  INTERROGAT:  VITAL: 
SI  VIDISSET  HAROLDI  EXERCITV: 

Here  Duke  Williavi  asks  Vital  if  he  had  seen  Harold's  army. 

A mounted  warrior  is  returning  at  full  speed  from  a reconnois- 
sance.  The  Duke  questions  him  and  he  replies,  as  his  gesture  indi- 
cates, that  his  soldiers,  from  their  hiding  behind  the  brow  of  a small 
wooded  eminence,  have  seen  the  opposing  army.  It  is  interesting 
to  notice  how  the  artist,  ignorant  of  laws  of  perspective,  has  here 
indicated  the  topography  of  the  country. 

ISTE  NVNTIAT:  HAROLDVM  REGE  DE 
EXERCITV  WILELMI  DUCIS 
One  iiiforms  King  Harold  concerning  the  army  of  Duke 

I Villiam. 

Harold  on  his  side  receives  reports  of  the  position  of  the  enemy. 
One  of  his  spies  is  shown  reconnoitering  the  enemy  from  an  emi- 
nence, and  immediately  afterwards  delivering  his  report  to  the 
King.  The  historians  tell  us  that  Harold  took  up  his  position  on 
the  Hill  of  Senlac  and  surrounded  it,  on  the  accessible  sides  with  a 
triple  palisade,  and  on  the  south  with  a ditch. 

HIC  WILLELM:  DVX  ALLOOVITVR  : SVIS:  MIL- 
iTiBVS:  vt-freparare:^  SE=  VIRILITER  ET 
SAPIENTER:  AD  FRELIVM  : COX’RA:  ANGLO- 
RVM  EXERCITV: 

Here  Duke  William  exhorts  his  soldiers  to  prepare  themselves 
manfully  and  discreetly  for  the  battle  against  the  army  of 
the  English. 

The  two  armies  are  face  to  face.  The  Norman  soldiers  are  so 
eager  for  the  conflict  that  they  hasten  away  almost  before  William’s 
exhortations  are  concluded.  The  cavalry  enter  the  fight  preceded 
by  the  Norman  archers.  The  battle  is  opened  with  a flight  of 
arrows.  The  Norman  knights  rush  forward  to  the  charge  and  are 
met  by  the  solid  phalanx  of  the  English,  standing  shoulder  to 
shoulder,  and  forming  wdth  their  interlocked  shields  the  famous 
shield-wall  which  even  the  cavalry  could  not  break  through. 
Harold  is  seen  standing,  wdelding  his  terrible  two-handed  axe,  and 
surrounded  by  his  standard-bearer  and  his  four  brothers.  The 
borders  of  the  tapestry  here  begin  to  be  taken  up  with  incidents  of 
the  fight. 


24 


MIC  CECIDERVNT  LEWINE  ET:  GYRD: 
FRATRES:  llAROLDI  REGIS: 

Here  fell  Lcofwine  and  Gyrih,  the  brothers  of  King  Harold. 

William,  Odo,  and  Robert  press  forward  to  where  Harold  is 
fighting  surrounded  by  his  brothers.  Two  of  the  latter  are  armed 
with  the  round-bossed  shields  peculiar  to  the  English.  In  the  en- 
counter that  follows,  Leofwine  and  Gyrth  are  killed,  and  shortly 
afterwards  we  are  shown  Harold  wielding  his  great  axe  singly  and 
alone. 

HIC  CECIDERV:^  SIMVL:  ANGLI  ET  FRANCI ; 
IN  PRELIO:- 

Here  English  and  French  fell  at  the  same  time  in  the  battle. 

This  is  the  climax  of  the  fight.  The  first  advance  of  the  Norman 
attack  on  the  Hill  is  driven  back  to  a deep  ravine  covered  with 
brushwood,  where  horses  and  riders  were  tumbled  into  the  chasm, 
and  mingled  in  inextricable  confusion.  In  a subsequent  attack  the 
English  line  is  broken  and  the  Normans  gain  a position  on  the  Hill. 

HIC-  ODO  EPS:  BAC'VLV  • TENENS : CONFOR!- 
TAT  PVEROS 

Here  Bishop  Odo,  holding  a club,  rallies  the  young  troops. 

We  know  that  at  the  battle  of  Hastings  several  churchmen  were 
engaged  fighting  in  the  Norman  and  the  English  ranks.  Here 
Bishop  Odo  is  shown  clad  in  armor  and  armed  with  a mace,  en- 
gaged in  rallying  a body  of  the  “ young  troops  ” that  had  been 
seized  with  a panic. 

me  est:  \vilel  dvx 

Here  is  Duke  William. 

According  to  the  historians  a report  was  spread  at  one  stage  of 
the  fight,  that  William  had  been  killed,  and  the  Normans  began  to 
retreat.  William  heard  the  report  and  raising  the  nasal  of  his  hel- 
met, rushed  into  the  midst  of  his  soldiers  exclaiming,  "I  am  here” 
— or,  perhaps  as  Mr.  Fowke  suggests,  the  words  of  the  inscription 
may  have  been  the  identical  exclamation  that  he  used. 


25 

E....TIVS 


Eustace. 

At  the  time  of  the  above  incident  Eustace,  Count  of  Boulogne, 
was  at  William’s  side  urging  him  to  retreat.  The  tapestry  shows 
Odo  and  William  occupying  positions  at  each  end  of  a body  of 
soldiers,  the  greater  part  of  whom  have  regained  their  former  ardor. 

II IC:  FRANCI  PVGNA^T  ET  CECIDERVNT  QVI 
ERANT;CVM  IIAROLDO:- 

Here  the  French  fight  and  those  who  zocre  zvith  Harold  fell. 

No  defense  was  now  left  to  the  English  except  their  shield-wall. 
It  was  at  this  stage  of  the  fight  that  William  gave  the  order  that 
won  the  day — “Shoot  upwards,  Norman  archers.’’  The  border 
illustrates  the  act.  The  arrows  falling  from  above  demoralized  the 
English,  and  their  defense  was  broken. 

me  HAROLD:- REX  MNTERFECTVS:  EST 

Here  King  Harold  zuas  slain. 

The  chroniclers  tell  us  that  Harold  while  wielding  his  axe  was 
pierced  in  the  eye  by  an  arrow.  Dropping  his  axe,  he  strove  to 
pluck  the  arrow  from  his  eye,  the  shaft  broke  in  his  grasp,  and  he 
fell  to  the  ground  in  mortal  anguish.  The  scene  in  the  tapestry  is 
very  similar  to  this  description.  He  falls  at  the  foot  of  the  standard, 
where  his  body  is  mutilated  by  the  enemy.  The  border  shows 
marauders  robbing  the  bodies  of  the  slain,  and  the  piling  up  of  the 
arms  on  the  field. 

ET  FVGA:  V^ERTERYN"  ANGLI 

And  the  English  fled. 

After  the  strain  of  the  conflict,  there  is  something  almost  amusing 
in  this  scene,  where  the  flight  of  the  English  is  depicted.  Here  the 
tapestry  in  its  present  condition  ends,  nor  does  it  seem  ever  to  have 
been  of  much  greater  length.  Lancelot,  writing  in  1730,  says, 
that  in  his  time  the  last  scene  of  the  tapestry  was  considerably 
damaged.  In  Mr.  Stothard’s  careful  drawing,  made  in  1816,  it  is 
readily  seen  that  all  the  missing  parts  have  been  destroyed  by  time. 
By  the  time  the  last  restoration  was  made,  in  1842,  all  the  letters 


I 


26 


of  the  final  inscription  had  disappeared.  We  can,  perhaps,  supply 
some  of  the  missing  details  by  consulting  Baudri’s  poem  addressed 
to  Adela,  a daughter  of  the  Conqueror.  Baudri  lived  in  the  latter  part 
of  the  eleventh  century.  The  poem  recounts  how  William  on  the 
morning  after  the  battle  orders  his  standard  to  be  brought  to  him. 
He  addresses  his  soldiers  and  says  to  them : “ Let  us  march  on  the 
town.  Rewards  are  for  to-morrow.”  We  are  not  told  the  name 
of  the  town.  The  army  advances  and  the  terrified  inhabitants  sue 
for  peace.  Then  only  is  it  that  the  people  and  the  nobles  proclaim 
him  King. 


